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Old Guard / Out of Character / A New World Order / Best 25 Games Ever (The Revised List)
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[quote][b]Remus (Jan 05, 2004 12:27 a.m.):[/b] [b]05. Metal Gear Solid[/b] - [i]PS1, Konami, 1998[/i] This is one of the most cinematic games ever made. The production values were apparent from the opening credits (which appeared on screen as you played, as if it were a movie). The game had great voice acting, some cimematography that was well ahead of its time, a diverse and interesting cast of characters, and above all, it was stylish and cool throughout. The protagonist, Solid Snake (who wins the Stupidest Video Game Character's Name award), was voiced by the gruff and self-assured David Hayter (who, interestingly enough, is a screenwriter whose credits include both X-Men films). This "Tactical Espionage Action" title was one of the original games which formed what is now the Stealth genre, allowing (and on higher difficulty modes, requiring) you to sneak rather than fight. Interestingly enough, though this game will always be remembered for its slick, action-packed cutscenes, some of the tensest moments (and certainly the most expository) took place during the game's extensive Codec conversations, which were presented as no more than still-animated graphics of each character's face as they converse through over a radio connection. This could easily have become mind-numbingly boring and tedious (as it was in the sequel), but the dialogue was (often) so well-written, and the voice acting so spot-on, that these conversations [i]became[/i] action. This game is recommended for stealth/action fans who enjoy taking frequent breaks from neck-snapping to watch a good story unfold. [b]04. Anachronox[/b] - [i]PC, Ion Storm, 2001[/i] I can remember seeing adds and previews for this game back in 1998, and thinking it looked interesting. It was going to be a sci-fi adventure/RPG, something I had not yet played and found myself intrigued by. The game fell off the radar for a long time, suffering several serious delays. In fact, the game originally intended had to be cut in half for time purposes. I had nearly forgotten about it when I saw it one day in late 2002, packaged with Thief II (see above) as a two-in-one deal for $20. When I began the game, I was a little unsure of what to make of it. The interface was odd -- it handled like an FPS, but was designed like an RPG. However, I was quickly drawn in by the witty humor written into the very foundation of the game world. This is a very funny game. Whether you're reading the exploration text-conversations or watching the fully-voiced cutscenes, you'll laugh out loud pretty often. What's truly surprising, however, is that about halfway through the game, a [i]plot[/i] is suddenly sprung upon you. And it's a doozy. There are difficulty settings for the game, so if you're like me and only like RPG combat so long as you can skip XPing entirely and still never lose a single battle (I'm not kidding), you're taken care of. The game sold terribly, and the division of Ion Storm which built it is no more, so the second half of this story will probably never be made. Lament with me. Recommended to players who enjoy RPGs and adventure games, and who like to laugh, but also think. [b]03. Soul Reaver 2[/b] - [i]PS2, Crystal Dynamics, 2001[/i] Without a doubt the best installment of the Legacy of Kain series, a saga so steeped in fictional mythology and lore that even a fan like myself occasionally has to check his notes to make sense of what's going on. Though the series spans five titles and about seven years (real time) now, Soul Reaver 2 (3rd in the series) still stands as my favorite due to its deliciously complex plot dealing with time travel, fate versus free will, the relativity of good and evil, and the fate of the world of Nosgoth. I didn't play the original (Blood Omen: Legacy of Kain) until after SR2, so my introduction to Nosgoth began with vampire prince Raziel's condemnation and execution by Kain at the beginning of Soul Reaver. It should stand as a testament to the power of SR2's narrative that 30 minutes into the game, the primary drive of the previous, finding and killing Kain, has been called into question. The game's combat has been called simplistic and repetitive, and it is; I just happen not to care. Recommended to anyone who loves a twisting, turning, mind-bending plot, and doesn't mind having to fight for it using a relatively uninspired combat system. [b]02. Riven: The Sequel to Myst[/b] - [i]PC, Cyan, 1997[/i] As with several titles above, Riven should be considered a stand-in for a larger series, including two other games (so far) and three novels. Perhaps it's just the writer in me, but the concept of being able to write down words as a carefully-constructed equation (or, in the cases of some, a more poetic, organic creation) and then visit that world you have just described resonates somewhere in my soul. The plots are great, the graphics always stunning, and the puzzles downright fiendish. Like the Kain games, this series has lore behind it, always a good thing. It's worth noting that the third installment, Myst III: Exile, was not created by Cyan (who were busy with Uru), but rather Presto Studios, creators of the Journeyman series. Not for the easily-frustrated, this game is for anyone who loves brain-teasing puzzles with some economical but brilliant storytelling on the side. [b]01. ICO[/b] - [i]PS2, Sony Computer Entertainment Japan, 2001[/i] This game is a work of art, plain and simple. The story it tells is simple, but tender and believable. The characters are shallow but likeable. The gameplay is nothing short of inspired -- this is some of the best platforming ever done. The level design is no less stunning; the areas you pass through cross and intermesh in such a startlingly brilliant way that you cannot help but respect the craftsmanship. The graphics and sound are beautiful: overexposed lighting outside or through windows lends the game a dreamlike quality, and the various outlooks you reach allow you to see both gorgeous forest terrain just beyond your reach and the cluttered, labyrinthine castle all to near. The soundtrack is sparse but emotive, and the environmental sounds are so good that you may not even notice the scarcity of music. But the best parts of this game can't really be explained to someone who hasn't played. The puzzles are clever, mostly because they rarely [i]seem[/i] like puzzles. In navigating this crumbling stone fortress, your task is to pick your way through the ruins while also creating a path for your companion, Yorda, who cannot always follow the same precarious paths as you. And there is also the surprising amount of emotion you find yourself investing in Yorda. She speaks a language Ico cannot understand, so the dialogue tends to be rather one-sided; Ico speaks in subtitled Japanese, but Yorda's replies are unintelligible. However, throughout the process of traversing the ruins, you must protect the child-like Yorda from both environmental dangers and strage shadow-creatures which seek to recapture her. Indeed, the game even ties your success or failure to Yorda: aside from long falls, nothing can harm Ico -- he has no health meter. The game only ends if Yorda is captured. This leads the player to feel what (we assume) Ico feels, that he must throw himself at any danger to Yorda without concern for his own well-being. The protective, big-brother feeling this engenders is quite amazing, and must be experienced to be understood. This is a perfectly-crafted game. It stands as an example to developers everywhere. That it met with such lackluster sales both in Japan and the United States is both surprising and a terrible shame. It's something of a cult hit right now. Perhaps time will remedy this unfortunate condition. This game is recommended to everyone, everywhere. If you like games, if you sometimes play them when you're bored, if you've never before played a video game in your life, this game should be played. Go get it now. I'll wait.[/quote]
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